LOT 2017
上一件
下一件
An inscribed gilt-bronze figure of Buddha, 4th - 6th century | 四至六世紀 鎏金銅立佛像
作品估价：HKD 1,500,000 - 3,000,000
货币换算
成交状态：待拍
买家佣金拍卖企业在落槌价的基础上收取买家佣金
20%
图录号：
2017
拍品名称：
An inscribed gilt-bronze figure of Buddha, 4th - 6th century | 四至六世紀 鎏金銅立佛像
拍品描述：
An inscribed gilt-bronzefigure of Buddha,
4th - 6th century
四至六世紀 鎏金銅立佛像
cast standing on a stepped pedestal and gracefully framed by a flamingmandorla, his left hand rests gently before his chest while the other extends downwards, clad in a flowing robe that cascades in undulating parallel folds, portrayed with a meditative expression featuring a serene smile andalmond-shaped eyes, the reverse of themandorla inscribed with a pious inscription dated to the 19th year of the Taiping period, wood stand, Japanese double wood box
16 cm
This fine stele is typical of the vibrant sculpture produced during the early years of Chinese Buddhism. Arriving in China as early as the Han dynasty, Buddhism soon gained traction and became a well-established institution by the late fifth century. As part of its adoption, Buddhism and its visual language would undergo a series of changes, gradually growing more sinicised and ‘refined’ for a Chinese audience. Blending the older Himalayan visual canon with more typical ‘Chinese’ features, the present figure exemplified this pivotal moment in Buddhist history as it transitioned from foreign import to national ideology.
Stylistically, the present stele shares many features with Gandharan Buddhist sculpture of the Kushan period (ca. 1st - 5th century CE), when Buddhism first began to enter China from Central Asia. Standing frontally with broad shoulders draped in monastic robes rendered in the Hellenistic-influenced Gandharan style – with long looping swathes of cloth rising from the legs and across the shoulders – the present figure shows clear signs of Buddhism’s early Himalayan heritage. Yet, even in this early depiction, certain Chinese elements also emerge: note the figure’s serene smile, almond-shaped eyes and the energetic flaming mandorla behind him; typical of early Chinese figures of this type. Compare a fragment of another early standing figure with very similarly rendered robes from the collection of the Musashino Art University, Tokyo, illustrated in Saburo Matsubara, Chūgoku bukkyō chōkokushi ron [Historical discussion of Chinese Buddhist sculpture], Tokyo, 1995, vol. 1, pl. 34a; and another dated equivalent to 471 CE with a large mandorla, illustrated ibid., pl. 36 and later sold in our New York rooms, 14th September 2011, lot 315.
鎏金佛像，精美光燦，屬中國佛教藝術之早期典型。早在漢朝，佛教已傳入中國，至五世紀末，宗教系統逐漸發展完整。中國的佛教藝術隨著時間演變，從原本喜馬拉雅系統風格愈見漢化，融合許多本土元素。此尊造像，即見證這個重要的藝術轉變時期。
就風格而言，本像仍可見許多貴霜帝國（約西元一至五世紀）犍陀羅佛教造像的特色，亦是此時佛教從中亞傳入中國。直立正對觀者、寬肩、佛袍自然垂墜，深受希臘化影響之犍陀羅造像風格，衣褶線條自雙肩流淌而下，止於踝上，清晰展現早期喜馬拉雅佛教藝術的傳承脈絡。在此同時，此尊鎏金立像，也反映出漢化：微笑祥和，杏眼纖長，以及背光層層烈焰，都是典型早期漢化特色。比較東京武藏野美術大學收藏一件殘像，姿態袍服類同本像，刊於松原三郎，《中国仏教彫刻史論》，東京，1995年，卷1，圖版34a；還有一例，紀年471年，背光甚大，載於前述出處，圖版36，2011年9月14日售於紐約蘇富比，編號315。